暴君夺娇短剧

今年的诺贝尔文学奖即将颁奖，所有人的目光都聚集在了那些有可能获奖的作家们身上。让大家都没有想到的是，最终的大奖落在了一个名叫安德鲁（保罗·纽曼 Paul Newman 饰）的年轻人头上，这个看上去就不太靠谱的作家似乎将更多的热情放在了女人和酒身上，而并没有放在文学创作上。安德森小姐（艾尔克·萨默 Elke Sommer 饰）成为了安德鲁的朱莉，将打理他在颁奖典礼上的一切大小事务，美丽的安德森很快就吸引了安德鲁的注意。和安德鲁一起领奖的还有一个名叫马克思（爱德华·罗宾逊 Edward G. Robinson 饰）的男人，他带着他可爱的侄女艾米丽（黛安·贝克 Diane Baker 饰）一同前往瑞典。

1942年11月23日，日军两万人对我胶东抗日根据地 “血洗扫荡”，数千名群众被围困在山上。八路军五旅十三团七连六班的战士们，在执行任务后途经马石山时，意外的知道了百姓将遭受日军大规模劫杀的危境。于是，他们毅然自行决定留下来解救乡亲们。 十名性格各异的战士在班长王殿元的 指挥带领下，往返三次冲破敌人的火网，护送出群众一千多人。七名战士阵亡，三名战士弹尽路断，敌人冲了上来，他们相互拉扯掺扶，面对敌人高唱战歌，子弹打在他们的身上，他们依然挺立，藐视敌人。本片由1942年11月的马石山突围战改编而成.

水兒（傅欣瑜）原是大太子之私生女，流落青樓，二太子（梁家輝）欲利用水兒揭大太子醜行以謀皇位。大太子不惜派殺手暗殺水兒，而二太子則命燕十三（莫少聰）、練飛霞（余安安）等護送水兒回宮。兩批人沿途激戰，水兒得武士（董瑋）相救避禍隱居荒村，然二人性格迥異經常引起衝突……

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.